hello frameworkers,

For anyone in Paris who is interested in the interconnections between 
experimental film, art and anthropology, there is a symposium at the Musee du 
quai Branly March 30-31 that I will be a part of.  I have two different 
presentations, one on my film 'Yanqui WALKER and the OPTICAL REVOLUTION' on 
Friday night and one on the animations of Robert Ascher on Saturday.  The 
description is below and the full program can be found here:


March 30 – 31, 2012
Salle de cinéma
musée du quai Branly, Paris

Organisers: Caterina Pasqualino (CNRS), Arnd Schneider (University of Oslo) in 
collaboration with
the Research and Education Department of the musée du quai Branly and the 
support of Laboratoire
d'Anthropologie des Institutions et des Organisations Sociales (LAIOS-IIAC) and 
of the Centre de
coopération franco-norvégienne en sciences sociales et humaines.

How can we broaden the fields of observation of reality? Contemporary art and 
experimental film are
possible ways in that they disturb our assumptions and allow a distance for the 
observer. Tools or
processes used by visual artists and filmmakers - pen camera, looping, fast or 
slow movements, multiple
screens, networking surveillance cameras - question our understanding of the 
world. These news visions
encourage the observers as anthropologists, to change the shape of their 

During the 1940s and 1950s, artist and ethnographer Maya Deren researched the 
practical and
theoretical implications of the filmed image. She suggested that it is not 
enough to save the appearances
of the world through film. The filmmakers must subject themselves to restore 
their double vision through
multiple sensory experiences. Similarly, other artists and anthropologists 
argue that the optical
perception of the world is not sufficient, as one has to consider how its 
formal qualities mingle with
acoustic, haptic, olfactory, and gustatory sensations.

The representation of lived time is another field of investigation. 
Anthropologists, who wonder how to
stay closer to the complexity of lived time in the field, look to offer new 
forms of restitution, while
experimental artists, who struggle against the compression of narrative time, 
set up elements for a new
foundation of an increased sensitivity to the real. Anthropology, art and 
experimental film question our
perception. To see is also to understand. This conference attempts to renew 
visual testing protocols in
order to amplify our understanding of the world.
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